Word: segale
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Dates: during 1970-1979
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Stanley Kramer's R.P.M. * (Revolutions Per Minute) was Segal's next screenplay, and it met sudden death at the hands of critics and public alike. In spite of its resounding failure. R.P.M * is a script Segal is proud of. "It has more intellectual content than anything else I've ever written for the screen." It was about a professor caught in a crisis of values. It was, he says, loosely based on Harvard. The premise: Blacks and white radicals at the quasi-mythical Hudson University occupy College Hall and the president rather than inviting the bloodshed of a police bust...
...fall of 1968, Segal had a leave from Yale. Professor A.M. Pappenheimer, then Master of Dunster House where Segal had once been a resident tutor offered him a suite. In Dunster J-39, he completed half of a monograph on Euripides and Menander. He also wrote Love Story...
...WINTER of 1970, Erich Segal was riding the top of the best-seller list with a novel that was not so much phenomenal literature as it was a literary phenomenon. The book and the movie brought Segal international fame (out selling Sagan in France and Mishima in Japan). It also supplied proportionate hassles. That Yalie reverence, inspired by his association with Yellow Submarine, evolved into cynicism and hostility. It was exacerbated by the cooling of an initially cordial critical reaction. Why didn't they love him more when he was more famous? Segal says, "It was the difference between knowing...
...free-form, unconstrained lecture style which had been considered masterful was suddenly dubbed "showboating." In the spring of 1967, The New York Times quoted his students as believing, "Erich Segal does for Latin what Christ did for Lazarus." But by 1971, Segal himself seemed to look a bit leprous. "The very things I was doing before I went electronic were the very things that hung me, (like) the fact that I used to come into class at Yale with one note card. They would think 'one card--the bastard hasn't prepared!' In truth I had memorized almost everything...
...SEGAL TOOK his relationship with the classroom for granted. He felt that, Love Story notwithstanding, his primary commitment would go unquestioned. He was still there, wasn't he? He was doing the same things, wasn't he (even if four or five photographers were always shooting it from the balcony)? Even Erich Segal wasn't as media-sophisitcated as he could've been. He badly needed a term's leave to adjust...